[NSP] UP open/closed fingering
Hello, Here is a link to Liam O'Flynn discussing the topic of styles. http://www.youtube.com/watch?v=EQU84O8xZlEfeature=related and for those who follow LBPS and Paul Roberts winning piece this will be doubly of interest I enjoy listening to this musician cresting stories on his pipes -- fabulous Dave S To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] typo
oops --- creating having problems with seing at the moment Dave To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Ending tunes traditionally
There are many tunes, especially slip jigs, and quite a few Peacocks, which as written, end on a note that implies we're about to go back to the beginning and start again, but isn't really in itself an endi- ... Many players stop there on the last time through, and don't play the note which seems to want to come and end it, pointing out that it ain't in the script so you don't play it. It's a matter of taste whether you like a hanging in the air, imperfect/interrupted/whatever cadence, type of ending, or whether you like to add the extra back-home note on the last time. Since I've only got dots and some recordings, mostly of modern players, to go on, I have no hard evidence as to how it was really done back in the day. Some tunes I like that way, with others my instinct is to add the implied final note, especially if playing for dancers. (It doesn't have to be a Jimmy Shand type Taraaa, of course!) So I wonder if it's done that way because it really was traditional, or because people who, like me, only have what was written down, are slavishly not playing un-written dots, despite the fact that we happily accept that dots are necessarily an imperfect shorthand, (Cf hornpipe rhythms, non-notated grace notes in many traditions, and so forth); so we stop because the person notating it didn't bother making an extra last time bar. Or did the traditional musicians who'd learned it from their great-uncle who had it from - and so on, actually play it that way? Please could those of you, like Anthony and others, who have played with the survival of the living tradition (whichever one!) offer any help? Thanks and best wishes, Richard. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Ending tunes traditionally
Richard I'm not going to answer your question directly, but draw your attention to the difference in aesthetic between Harmonic Direction and Harmonic Proportion. And rather than elaborate here now, add that I have pondered this long and hard and given the results of my ponderings with musical examples in a 14-page Appendix in the new Master Piper edition. Matt -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Ending tunes traditionally
Hello Richard I have to bow to Matt's much greater academic knowledge on this one but I still offer a lesser mortal's thoughts: The old guys I played with were dance driven and would invariably resolve tunes in the manner you describe. As far as my own preference is concerned I find certain tunes cry out for resolution (Lads of Alnwick for example) whilst I like others 'left in the air' (such as The Keelman Ower Land, Sir John Fenwick's the Flower Amang Them All). On singing tunes through in my head to check this I think there might be a pattern emerging. Perhaps tunes ending in fast passages need resolution but slower ones sound quite grittily scrumptious with a long E, for example, against GD drones. Again this is a personal feeling. After all that has been said about a living/evolving tradition I would not be comfortable giving a definitive answer but hope this helps a bit. As my nana would often say, just please your Bessie! Anthony -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Ending tunes traditionally
And, bowing to Anthony's greater experience of kirn suppers, this lesser mortal's thoughts are pretty much the same as his about ending such tunes - dancers expect an ending, listeners can happily sit in the air. Felton Lonnen for ex. would IMO be awful with a 'resolution' on the tonic. On Sat, Jun 18, 2011 at 11:28 AM, Anthony Robb [1]anth...@robbpipes.com wrote: Hello Richard I have to bow to Matt's much greater academic knowledge on this one but I still offer a lesser mortal's thoughts: The old guys I played with were dance driven and would invariably resolve tunes in the manner you describe. As far as my own preference is concerned I find certain tunes cry out for resolution (Lads of Alnwick for example) whilst I like others 'left in the air' (such as The Keelman Ower Land, Sir John Fenwick's the Flower Amang Them All). On singing tunes through in my head to check this I think there might be a pattern emerging. Perhaps tunes ending in fast passages need resolution but slower ones sound quite grittily scrumptious with a long E, for example, against GD drones. Again this is a personal feeling. After all that has been said about a living/evolving tradition I would not be comfortable giving a definitive answer but hope this helps a bit. As my nana would often say, just please your Bessie! Anthony -- To get on or off this list see list information at [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. mailto:anth...@robbpipes.com 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Tune books with arrangements for other instruments
I know there have been some books published in the past that include tune arrangements for Northumbrian pipes and other instruments though as someone who is normally a solo player I haven't taken much notice..until now. I need to encourage an 11 year old flautist and 12 year old cellist to practice during the school summer holiday (which starts next week here in the US) and thought trying some group playing might be better than getting each to do solo practice. Are there any books that would cover such instruments and if so anyone know sources? Beyond NSP there are other instruments I play that could join in with them so general British folk music arranged for assorted instruments would also be good. Thanks, Ian To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Tune books with arrangements for other instruments
Hi Ian -- I think there are some books by Derek Hobbs on the NSP site cheers Dave S On 6/18/2011 6:59 PM, Ian Lawther wrote: I know there have been some books published in the past that include tune arrangements for Northumbrian pipes and other instruments though as someone who is normally a solo player I haven't taken much notice..until now. I need to encourage an 11 year old flautist and 12 year old cellist to practice during the school summer holiday (which starts next week here in the US) and thought trying some group playing might be better than getting each to do solo practice. Are there any books that would cover such instruments and if so anyone know sources? Beyond NSP there are other instruments I play that could join in with them so general British folk music arranged for assorted instruments would also be good. Thanks, Ian To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html - No virus found in this message. Checked by AVG - www.avg.com Version: 10.0.1382 / Virus Database: 1513/3711 - Release Date: 06/18/11
[NSP] Re: Tune books with arrangements for other instruments
On 18 Jun 2011, Ian Lawther wrote: tune arrangements for Northumbrian pipes and other instruments http://www.rossleighmusic.co.uk/ Those who use them seem to think highly of them. Aren't there a couple of LBPS books of such duets etc as well? Hope this helps Julia To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[NSP] Re: Ending tunes traditionally
Having done a lot of dancing and playing for dancing, allow me to suggest that the decision might depend on whether or not there are a bunch of sweaty people out there in front of you saying, That didn't sound like the end of the tune. Should I bow/curtsie? Or keep dancing? If there are dancers, end on a tonic whenever possible. Alec MacLean In a message dated 6/18/2011 1:43:28 A.M. Pacific Daylight Time, rich...@lizards.force9.co.uk writes: There are many tunes, especially slip jigs, and quite a few Peacocks, which as written, end on a note that implies we're about to go back to the beginning and start again, but isn't really in itself an endi- ... Many players stop there on the last time through, and don't play the note which seems to want to come and end it, pointing out that it ain't in the script so you don't play it. It's a matter of taste whether you like a hanging in the air, imperfect/interrupted/whatever cadence, type of ending, or whether you like to add the extra back-home note on the last time. Since I've only got dots and some recordings, mostly of modern players, to go on, I have no hard evidence as to how it was really done back in the day. Some tunes I like that way, with others my instinct is to add the implied final note, especially if playing for dancers. (It doesn't have to be a Jimmy Shand type Taraaa, of course!) So I wonder if it's done that way because it really was traditional, or because people who, like me, only have what was written down, are slavishly not playing un-written dots, despite the fact that we happily accept that dots are necessarily an imperfect shorthand, (Cf hornpipe rhythms, non-notated grace notes in many traditions, and so forth); so we stop because the person notating it didn't bother making an extra last time bar. Or did the traditional musicians who'd learned it from their great-uncle who had it from - and so on, actually play it that way? Please could those of you, like Anthony and others, who have played with the survival of the living tradition (whichever one!) offer any help? Thanks and best wishes, Richard. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --
